Who on earth needs 151 million pixels? Well, I do.
For when I’m producing images that are 10m wide for a restaurant’s diners to inspect while sat only 4ft away.
For when I get a request for a different shape crop of an image I’ve taken, where the output still needs to be at extremely high resolution.
For when we need to wrap a company’s entire headquarters in an image with the need for it to be sharp up-close for visitors.
…in fact, for most of my clients – none of which have ever uttered the words “could you please make that shot a little less detailed?”
So – who needs 151 million pixels? Who doesn’t?
But with the IQ4 series from Phase One, it’s not just about resolution and the number of pixels – it’s about the quality of each of those pixels themselves. The larger the pixel, the more light it can capture – with less noise, 15 stops of dynamic range out-of-the-box, and the ability to capture even the most subtle of details on the street in an ultra-wide shot of a sprawling cityscape.
That is what I want when I capture my images – that is what gives me the ultimate flexibility when I’m processing my images – and that is what my clients expect.
Whether I choose to take my commercial all-rounder in the form of the XF camera body, or the ultra-portable XT field camera with its series of amazing Rodenstock lenses – I know that I can capture the very best of any scene, without compromise.
With Frame Averaging, I have the flexibility to choose how much movement and motion I want to capture – completely independently of the exposure itself. Removing the need to carry a whole library of glass filters was the hook for me, but it’s the fact that I can make a truly unconstrained artistic decision when shooting long exposures that’s been the winner – along with the increase of dynamic range even beyond the standard 15 stops the IQ4 gives me.
Dual Exposure+, on the other hand, allows me to get even more from a still shot – in situations where the right filter simply doesn’t exist. The ability to combine two simultaneous shots (one exposed for highlights, the other for shadows) on that incredible digital back delivers a single raw shot with 18 stops of dynamic range – in a single click of a button.
I’ve been using Phase One camera systems for nearly a decade now, and I know that without the capabilities each one has offered, my clients would never be as impressed. With the latest digital backs, and the incredible advances in on-board technology as part of the Phase One Labs, I know I’m heading to each location with the ultimate camera setup.